Rhode Island School of Design graduate Burgundy Applegate took a subtle, color-focused approach to her work upon stepping out into the professional world of design in the early 2000′s. Upon relocating to the UK, she struck up a partnership with English furniture house Heal’s, which was first established more than 200 years ago.
Rather than come out of the gate with bold, brash, in-your-face curves and exaggerations, though, Applegate instead went a more traditional, yet personalized, route. Her initial collection for Heal’s is based upon simple late-19th-century modern pieces given a bit of flair with geometric, almost floral, designs.
The kaleidoscope effect of her undulating yellow ovals against a grey background lends an unexpected air of sophistication to her work while keeping it accessible and actually kind of sweet — romantic, even.
The four-piece collection is comprised of a coffee table, sideboard and a series of three end tables in varying finishes.
Per Heal’s, Applegate’s self-invented technique “consists of using sticky-backed vinyl and spray lacquer, cutting the vinyl into a one-use stencil and then spraying over it to give a layered, two-tone effect.”
And what a fresh and pretty effect it is indeed.
Photo credits: Heal’s